THE COMPANION GRAPHIC NOVEL TO WIMBLEDON GREEN Whenever you're in Dominion, on Milverton Street you will stumble across an arresting array of handsome old buildings. The one with the pink stone façade and the familiar Canadian cartoon characters over the doorway is the Dominion branch of the Great Northern Brotherhood of Canadian Cartoonists, erected in 1935 and the last standing building of the once prestigious members-only organization. For years, this building, filled with art deco lamps, simple handcrafted wood furniture, and halls and halls of black-and-white portraits of Canada's best cartoonists, was where the professionals of the Great White North's active comics community met—so active that there were outposts in Montreal and Winnipeg, with headquarters in Toronto. Everyone from all branches of the industry—newspaper strips, gag cartoons, nickel-backs, comic books, political art, accordion books, graphic novels—gathered in their dark green blazers to drink cocktails, eat, dance, and discuss all things cartooning. Seth opens up his sketchbook to an unseen world of Canadian comics, sometimes fictional and sometimes not, sometimes humorous and sometimes bittersweet, but always fascinating in its creative exploration of Canadian comics history. Whereas Wimbledon Green celebrated the comics collectors, The Great Northern Brotherhood of Canadian Cartoonists celebrates the cartoonists the comic collectors love.

The companion graphic novel to Wimbledon Green Whenever you're in Dominion, on Milverton Street you will stumble across an arresting array of handsome old buildings. The one with the pink stone façade and the familiar Canadian cartoon characters over the doorway is the Dominion branch of the Great Northern Brotherhood of Canadian Cartoonists, erected in 1935 and the last standing building of the once prestigious members-only organization. For years, this building, filled with art deco lamps, simple handcrafted wood furniture, and halls and halls of black-and-white portraits of Canada's best cartoonists, was where the professionals of the Great White North's active comics community met—so active that there were outposts in Montreal and Winnipeg, with headquarters in Toronto. Everyone from all branches of the industry—newspaper strips, gag cartoons, nickel-backs, comic books, political art, accordion books, graphic novels—gathered in their dark green blazers to drink cocktails, eat, dance, and discuss all things cartooning. The Great Northern Brotherhood of Canadian Cartoonists celebrates the cartoonists the comic collectors love.

Before the Baudelaires became orphans, before he encountered A Series of Unfortunate Events, even before the invention of Netflix, Lemony Snicket was a boy discovering the mysteries of the world. In a fading town, far from anyone he knew or trusted, a young Lemony Snicket began his apprenticeship in an organization nobody knows about. He started by asking questions that shouldn't have been on his mind. Now he has written an account that should not be published, in four volumes that shouldn't be read. This is the first volume.

Canadian cartoonist Gregory Gallant, pen name Seth, emerged as a cartoonist in the fertile period of the 1980s, when the alternative comics market boomed. Though he was influenced by mainstream comics in his teen years and did his earliest comics work on Mister X, a mainstream-style melodrama, Seth remains one of the least mainstream-inflected figures of the alternative comics' movement. His primary influences are underground comix, newspaper strips, and classic cartooning. These interviews, including one career-spanning, definitive interview between the volume editors and the artist published here for the first time, delve into Seth's output from its earliest days to the present. Conversations offer insight into his influences, ideologies of comics and art, thematic preoccupations, and major works, from numerous perspectives—given Seth's complex and multifaceted artistic endeavors. Seth's first graphic novel, It's a Good Life, If You Don't Weaken, announced his fascination with the past and with earlier cartooning styles. Subsequent works expand on those preoccupations and themes. Clyde Fans, for example, balances present-day action against narratives set in the past. The visual style looks polished and contemplative, the narrative deliberately paced; plot seems less important than mood or characterization, as Seth deals with the inescapable grind of time and what it devours, themes which recur to varying degrees in George Sprott, Wimbledon Green, and The Great Northern Brotherhood of Canadian Cartoonists.

Canadian Graphic: Picturing Life Narratives presents critical essays on contemporary Canadian cartoonists working in graphic life narrative, from confession to memoir to biography. The contributors draw on literary theory, visual studies, and cultural history to show how Canadian cartoonists have become so prominent in the international market for comic books based on real-life experiences. The essays explore the visual styles and storytelling techniques of Canadian cartoonists, as well as their shared concern with the spectacular vulnerability of the self. Canadian Graphic also considers the role of graphic life narratives in reimagining the national past, including Indigenous–settler relations, both world wars, and Quebec’s Quiet Revolution. Contributors use a range of approaches to analyze the political, aesthetic, and narrative tensions in these works between self and other, memory and history, individual and collective. An original contribution to the study of auto/biography, alternative comics, and Canadian print culture, Canadian Graphic proposes new ways of reading the intersection of comics and auto/ biography both within and across national boundaries.

In his first graphic novel, It's a Good Life, if You Don't Weaken–one of the best-selling D+Q titles ever--Seth pays homage to the wit and sophistication of the old-fashioned magazine cartoon. While trying to understand his dissatisfaction with the present, Seth discovers the life and work of Kalo, a forgotten New Yorker cartoonist from the 1940s. But his obsession blinds him to the needs of his lover and the quiet desperation of his family. Wry self-reflection and moody colours characterize Seth's style in this tale about learning lessons from nostalgia. His playful and sophisticated experiment with memoir provoked a furious debate among cartoon historians and archivists about the existence of Kalo, and prompted a Details feature about Seth's "hoax".

Presents a collection of 129 never-before-published comics about the 1960s by 169 writers and artists, including Renâe Goscinny, Jack Kirby, Harvey Kurtzman, Art Spiegelman, and Gahan Wilson.